Innerer Dialog
Beverley Ellis
Sold by BuchWeltWeit Ludwig Meier e.K., Bergisch Gladbach, Germany
AbeBooks Seller since 11 January 2012
New - Soft cover
Condition: New
Ships from Germany to U.S.A.
Quantity: 1 available
Add to basketSold by BuchWeltWeit Ludwig Meier e.K., Bergisch Gladbach, Germany
AbeBooks Seller since 11 January 2012
Condition: New
Quantity: 1 available
Add to basketNeuware -Barbara Heller composed Inner Dialogue with a tonal material consisting of several series of intervals that are put together like a dialog. The composer focuses on upward and downward movements. Barbara Heller writes about this:'I was particularly emotionally attached to one series of intervals, which can be found at the beginning of the 2nd part (Lento) and the 5th part (Calmo): major sixth, minor second, fourth, major second and tritone. This falling sixth triggered in me the attempt to come back up again with a rising fourth after the semitone step downwards, and then back down again with the whole tone and the tritone - this resulted in an expression that did not let go of me and touched me deeply inside. It was like a trap that I couldn't get out of. And so, in the course of working on the cello piece, it became an inner dialog: with the back and forth downwards and upwards again, a kind of variation-like music that was always - with small changes - a self-questioning, an attempt to free myself from this motif, which I did not succeed in doing.In this edition, editor Beverley Ellis provides important notes on interpretation.Instrumentation:cello; Barbara Heller komponierte Innerer Dialog mit einem Tonmaterial aus mehreren Intervallreihen, die dialogartig zusammengesetzt sind. In den Mittelpunkt stellt die Komponistin Auf- und Abwärtsbewegungen. Barbara Heller schreibt dazu:'Mit einer Intervallreihe war ich besonders emotional verbunden, sie findet sich am Beginn des 2. Teils (Lento) und des 5. Teils (Calmo): große Sexte, kleine Sekunde, Quarte, große Sekunde und Tritonus. Diese fallende Sexte löste in mir den Versuch aus, nach dem Halbtonschritt abwärts mit einer steigenden Quarte wieder nach oben zu kommen, und dann wieder nach unten mit dem Ganzton und dem Tritonus - das ergab einen Ausdruck, der mich nicht losließ und innerlich stark berührte. Es war wie eine Falle, aus der ich nicht herauskam. Und so wurde es im Verlauf der Arbeit am Cellostück ein innerer Dialog: mit dem Hin und Her nach unten und wieder nach oben, quasi eine variationsartige Musik, die immer wieder - mit kleinen Änderungen - eine Selbstbefragung war, ein Versuch, mich von diesem 'Motiv' zu erlösen, was mir nicht gelungen ist.'Die Herausgeberin Beverley Ellis gibt in dieser Ausgabe wichtige Hinweise zur Interpretation.Schwierigkeitsgrad: 4-5 12 pp. Nicht zu entscheiden.
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